IronFilm

Agreeing here with everything you're saying. Dream big, let's make it full size XLRs! I reckon it can fit on something that size. Or maybe a compromise: 1x XLR for L 1x TA3F (with P48) for R 1x TA5F for the 3rd & 4th channels of audio Yes! And Genlock too! Make it a truly pro level streaming camera.

A black marker can fix that 😉 "better communication" would have been even worse, it would have killed sales of the GH6 itself! Agreed. Buying secondhand means someone else takes the brunt of the loss on depreciation, and you're also able to clearly see into the "future" as you know what's coming down the pipeline for the next couple of models. (because they've already been released!)

I dunno, the GH6 was already very "late" in coming. Every month further delayed would be quite bad for the GH Series. Imagine if the GH6 didn't come out until mid this year? That might have been a bit too deadly for the GH Series.

Just use TC (and Genlock! so get the TCS USOs) for syncing.

"HDMI LATENCY TEST - If you turn off Sound Output Via HDMI in the menu the latency drops to 180 milliseconds." Ohhh, that's not so awful now! Unlike the earlier reports about the delay over HDMI.

They seem confident that a Panasonic S2H is going to come along eventually: Sadly only for U.S. based colleges 😞 A pity as I'm a postgrad engineering student at University of Auckland, would've been cool if I'd been eligible.

You're not broadcasting this live??? Otherwise the same SDI feed that's going back to you, then you could also run a XLR line feed next to it running in the other direction to feed the cameras. I don't see any problem at all here. This is a normal way to do it. If it isn't being broadcast live, then just put a Tentacle Sync E / Deity TC1 / TCS Ltd USO / etc on each camera, and let that do the syncing for you in post. (plus like @Kisaha said, make sure each camera has scratch audio either from an external mic mounted on the camera itself, or the internal mics if it has that)

Whaaat??? 😮 Why so very cheap in China? Does this hint at maybe very soon (well before next Christmas?) we'll see the S5mk3 with sales / a price reduction in the western world as well? 100% agreed, also Panasonic has to do this soon to try and turn the tide around. If they do bring out an EVA2 (with L Mount) and you're the only Panasonic shooter in your city and everyone else is a Sony shooter, then you're seriously crippling yourself professionally in terms of being able to get as much work as possible. Ideally this EVA2 should have came out three years ago (or even longer, heck the EVA1 should have itself came out with a mirrorless mount!!). But at least if they do an EVA2 now rather than in a couple more years (when Sony is even more entrenched) they'll have a better chance at succeeding.

10000000% agreed! And it is not just FX6 owners, but also aspiring FX6 owners. Lots of buyers of an a7S / a7 / a6x00 / etc who get those and aspire to one day have "a pro camera", and get a mirrorless stills camera with the same mount as what they know they'll one day upgrade to. As much as I like this new S5mk2 release, and think it is awesome, it's nearly impossible for me to justify getting when a) I have a FS7 with an E Mount, and b) if/when I get another pro camera (in a few years time, no rush. I want the supply shortages to end, and for them to depreciate in cost), it will most likely be a FX6! (or maaaaaybe FX9, anyway it is definitely an E Mount!) This was the biggest issue with MFT Mount as well, when it became clear there would never ever be an AF100 replacement. At least BMD kinda sort of filled that hole (in a different way) for a while with their MFT cameras. Panasonic is seriously crippling themselves by not having an "EVA2 with a L Mount". People need to know there is an upgrade path for them well beyond the S5mk2. Also true 😞

The bundled kit with the 20-60mm zoom and with the 50mm prime is insanely good value for money and a good enough starting point to get going with.

While on the topic of raw & codecs, I stumbled across a pretty good article that gives an overview of video codecs and even gives a demo of making one in Rust: https://blog.tempus-ex.com/hello-video-codec/

He didn't say there will be never a S1H. And even if he had, it is still very hard to predict what will happen in three or five years time... never say never to a possibility. But yes, I agree with him (as he's a pretty good source!), just saying that my post didn't contradict it at all.

Yeah, I forget the exact numbers, but it was something like the competition do their record length tests / overheating tests at say 22C (no surprise if people in the real world find theirs to overheat on a hot day...) while Panasonic did their test on the S5mk2 at 40C? (a much fair and tougher temperature to test it at!) Maybe for this season trade the S5 for a S5ii, but keep your S1R (so you're not giving up high resolution yet) and perhaps 50/50 as to if you keep your S1H as well or not. That way you still have one (or two) S5ii for when you need top notch AF, but then for next season you can grab one (or two) S5Xmk2 once they're already out. Might be the best middle ground compromise, due to the timings of the releases.

Exactly!! These early first "reviews" all say that AF performance is very very close, with Sony only marginally ahead. (and with Sony being by far a bigger sponsor overall, you have to wonder how much unconscious bias might be going on....) And we all know it often takes a lot of time to get the most out of an AF system, to know all its quirks and settings. Thousands of people have been spending hundreds of thousands of hours using and figuring out Sony AF over the last few years. While the S5mk2 isn't even shipping yet. Wouldn't shock me if after a year of people using the S5mk2, learning and understanding it, that perhaps Panasonic AF comes out on top as #1 now. But anyway... why even care, we're arguing over the last 0.1% of AF performance? We're splitting hairs. I think it is time to agree there are now more important things to consider about a camera than the AF! Yup, Canon made a move for their short term benefit that will long term harm them. Bingo! When Panasonic's AF is beating what was just a few short years ago the "amazingly best AF" from Canon, then we know these AF debates can be over. Who cares who exactly has the number one spot in this exact moment in time, be it Sony/Canon/Nikon/Panasonic/whoever? It's like caring if the Nikon D4 or Canon 1D X has the better AF for photography?? That kind of debate between photographers ceased to be relevant to 99% of us! And now it looks like we're reaching that point in autofocus for videographers as well?

Yes. (if a person doesn't care about TC or working with other Sony shooters)

Unfortunately the S5 IIX only does 1080 ProRes internal recordings. I hope they add 2K ProRes as well! Because that's a very common resolution with ProRes. And SD cards can handle 2K. (and the SD cards is why it doesn't have 4K ProRes, and records to an external USB drive instead)

Please double triple check if the rolling shutter and HDMI delay is really as bad as some people say it is! 😕 😞 Would be great to get another hard facts measurement (plus an opinion too!) on this. Could you make a V-log to S-log conversion LUT, then burn that into the recorded files on the S5mk2 then tell (& show!) us how close that is in terms of matching with native Sony cameras & their S-log files?

FX30: sharper image, a second ISO that's actually more useful in practical use, and once you equalize for DoF then the "advantage" for FF with noise diminishes. FX3: same sensor as the a7Smk3, but with more recording options. Anyway, we're splitting hairs here.

If you're starting from scratch, I can't think of any reason why I'd go for the a7mk4 over the S5mk2 (maybe there is some weird hyper niche reason "why", like maybe there has never been a underwater deep diving case made the S5 and exists instead for the a7mk4?? But I doubt that reason exists) The FX3/FX30 have a better UI for video shooting with, it's purpose built around that. And has the edge in image quality too. Plus has TC, that the a7 & a7S series cameras lack.

You can record to two cards at once I believe, would be very cool if you could apply the LUT to one card and leave the other card untouched?

I'm hoping instead for a "BS2H" instead. Maybe a very very modest update to the S1H? Just like the GH5 to the GH5mk2

What about it? It isn't even a close contest. Why are you comparing them? Seems rather unfair to the Sony. Couldn't you be kinder to Sony and say ask for a S5mk2 vs FX30 comparison instead?

Welllllll..... you kinda sort of ish get half of that for less with the Panasonic S5mk2! 😉

Just like you pick the appropriate FoV to tell the story that needs to be told for that shot, you also need to pick the appropriate DoF that matches what the film needs. Once you've got that equal for both, then compared to the FX30 any FF camera is going to be at a one stop disadvantage (all else being equal). The other alternative is ignore the resulting DoF difference between the two cameras, make the 1st AC hate you, make the Art and Location Departments' work go to waste, and let the actors be lost in the bland blurred space they're in. Moral of the story is: you can't only look at a FF cameras' strengths while totally ignoring their handicaps. To make it fair comparison when discussing the noise performance that has to be taken into account. If you don't need to work with other people (i.e. Sony shooters!), and don't need TC (I work with that on basically every shoot! Very very very rare I don't), then it sounds like the S5mk2 is the perfect camera to shoot with for you!

Matt from Newsshooter seems extremely confident the S1Hmk2 won't be coming out this year. (or unlikely to even happen next year)